Francesco Bertos (1678-1741) Italian, Venice, first half 18th century

Private Collection, Netherlands;
Daniel Katz Gallery, London;
Private Collection, London

C. Avery, The Triumph of Motion. Francesco Bertos (1678-1741) and the Art of Sculpture. Catalogue Raisonné, Turin, 2008, p. 171, pl. 32, no. 27

Overall the condition of the marble is good with minor dirt and wear to the surface consistent with age. There is some veining to the surface consistent with the material, in particular to the abdomen, lower back and proper right buttock. There are a few minor naturally occurring inclusions. There is a slightly open vein across the proper left calf muscle.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This fine marble, like the previous lot, falls into the relatively rare category of sculptures by Bertos comprising single classicizing nudes, which were likely conceived as pairs. The presence of a sword reminds us of the extremes inherent within Bertos's oeuvre, which can be divided between lavish, often Bacchic, subjects and violent mythological scenes. Similar short, Roman, swords appear in the dramatic multifigural group, Cyllarus Wounded by Lapiths (Avery op. cit. p. 178, pl. 9, no. 40). The present figure is also close in conception to the Bacchus sold at Christies, mentioned in the note for the previous lot. Both figures wear a fillet with intricately carved dangling ribbons (the characteristic attribute of classical athletes), which serve to remind the viewer of Bertos's virtuoso skill as a stone carver.

RELATED LITERATURE
C. Avery, The Triumph of Motion. Francesco Bertos (1678-1741) and the Art of Sculpture. Catalogue Raisonné, Turin, 2008, pp. 171-2, 178, pl. 9, 32, nos. 27, 28, 40